Tips de un master- class con Jascha Heifetz. Parte 2.⠀
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Comparto con vosotr@s 4 consejos más de los master-clases de Jascha Heifetz:⠀
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🔸STACATTO was to be executed with a stiff arm and elbow. ‘Raise the upper arm and don’t unlock the elbow,’ Heifetz would say. ‘It should sound scratchy under the ear. This is the sound which carries in a hall⠀
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🔸VIBRATO, TONE & INTONATION. He told us that there are five different kinds of vibrato. We were expected to create at least three of them, and he taught us to work on the same passage using different areas of the fingertip to discover and develop the best places to create different types of sound – brilliant, sensuous or sweet, for example. Heifetz advised us ‘not to copy anyone’, and we spent much time on the discovery of tone production. Intonation was not addressed in itself; our teacher believed that, ‘If they don’t hear themselves, it doesn’t do much good for me to tell them.’⠀
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🔸 EXPRESSION. When something did demand attention, he might offer a fingering suggestion or ask the other students to come up with a solution. Expression was of major importance. A student might present a fiendishly difficult work, note-perfect, performed with verve, only to hear Heifetz comment, ‘But can you say something? If you have no ideas of your own, learn by listening to others.’⠀
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🔸 COMPETITION. Occasionally there were in-class competitions for the best scales, best 10ths and the best staccato. The students voted for each other, and at the end Heifetz added his own appraisal. He forbade his students from entering other competitions, however. If he discovered that someone had disobeyed this rule, they were thrown out of the class. ‘Who is judging you? What are their credentials?’ he would ask.

Tips de un master-class con Jascha Heifetz. Parte 1.⠀
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Como dicen los alumnos de Yasha Heifetz, uno de los violinistas más notable del siglo XX, las clases con Jascha siempre implicaba exigentes ejercicios técnicos y constante búsqueda de excelencia👌🏻⠀
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Aquí quiero compartir con vosotr@s algunos consejos de su master-clases y cosas que son más importantes en la hora de practicar el violín. También estos tips comparto en idioma original que estaban publicado en un artículo.⠀
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🔸The WARM-UP .“Perhaps the most important of these was the warm-up, which consisted of drawing long, slow bows beginning on the open G string and continuing a scale up two octaves to the E string, with no vibrato. The next step was to play a steady crescendo on the down bow to the tip followed by a slow, steady diminuendo back to the frog.⠀
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🔸SCALES.More complicated scales came next. He began with double-stops, although we were expected to master scales on single notes, in 3rds, 6ths, octaves and 10ths in all keys and combinations. He might ask to hear G double flat harmonic minor in 6ths – beginning on the fourth degree of the scale!⠀
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🔸ETUDES Kreutzer, Rode, Dont, Gaviniés, Hindemith, Paganini – as well as the Bach unaccompanied sonatas and partitas, and difficult, ‘unplayable’ passagework including staccato bowing (in Wieniawski) and spiccato bowing (in Paganini, from memory).⠀
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Continuación será en el siguiente publicación.

DIGGING THROUGH OUR ARCHIVES:
I was 16 years old, when I auditioned for Mr. HEIFETZ.
When I first saw this flyer, it was VERY intimidating!
Playing Paganini Caprice no. 17 for Heifetz??
Of course he wanted to hear scales!!
( G flat major in fingered octaves was one of his favorites... )
It was a pretty long audition and he even asked me to sight read something by Martinu!! There is absolutely nothing that can replace the 2 years of studies under Mr. Heifetz.
And lots of hair-raising demonstrations by
Mr. Heifetz 3 feet in front of students!! #heifetz#violin#music#jaschaheifetz#student#losangeles

Jascha Heifetz performs Bruch's Scottish Fantasy with the Orchestra National de France in 1970.
Here, Heifetz performs on the 1740 "David, Heifetz" Guarneri del Gesù, which he acquired in 1922.
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This violin was used by German violinist Ferdinand David, a close friend of Felix Mendelssohn, for the world premiere of his Violin Concerto in E minor in 1845.
Upon Heifetz's death in 1987, Heifetz who lived in Los Angeles, left the violin to the Fine Arts Museums with the strict stipulation that it be played on special occasions by worthy performers.
In 2002, the Museums offered the violin as an extended loan to the San Francisco Symphony. Since then, it has been cared for and played by the San Francisco Symphony @sfsymphony Concertmaster, Mr. Alexander Barantschik.
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Video courtesy of RCA Victor.